After listening “Die basta-Zeiten sind vorbei”, a listener could ask himself who made the piece at the end: Both conductors? The composer? The performers?  In “Die basta...”, the traditionally circumscribed rolls of “composer”, “conductor” and “performer” are extended up to the point where it is difficult to identify their functions: The three identities seem to work at the same sonic, gestural and constructive levels. The sax obbligato unleashes the instrumental chaos normal to chamber improvisation. It provides also a gravitational force, a kind of African-style "leader and choir" ensemble through which the composer intends to forge a collective of improvising musicians. “Die basta…” is a very simple machine, an “anti-incubator” where all seminal materials are deconstructed all along the piece. Its most interesting feature is the process of that sonic deconstruction (perceived by the audience as a normal, constructive, evolutional procedure).

The conductor has 6 loop materials. He can arbitrary choose which musicians play them. He can choose  only one loop material at a time. Score in C. Transposing instruments may read it as a transposed score if they wish.

After the first repetition of any of the loop materials, the conductor can arbitrary choose the loop behavior. There are 9 possibilities on the floor. He can normally control the dynamics of these behaviors with his-her hands. Loop behaviors are Senza Tempo. Transformations develop  at random between musicians. Non synchronic. Poco a poco, Ad Libitum. For example, he can choose

the Loop 5  (see avobe) and step on the Behavior 1 (see bellow) to slowly transform that loop.

From 1 to 9: Don't follow other musicians to realize this process.  It has to be individual. No tempo and metrics cues from the director are valid.

The composer has: Ca. 300 different sounds available in the gloves with sensors, arranged in 4 clusters of 12 banks each. Another live-electronics instrument or software may be used. The composer has also 12 Ensemble behaviors on the floor. He can arbitrary decided which musicians play these and even take some of the musicians already took by the loops conductor.   Transformations between ensemble behaviors develop ad libitum. For example, the conductor can step on Behavior 3 for the flute and go slowly to Behavior 1, adding the strings.